摘要
通过对经典抗战电影的效仿,《鬼子来了》生成了自己的意义:颠覆抗战历史的神话叙事,恢复其作为复调历史的个人性、民间性和多义性。采取后现代策略没有改变《鬼子来了》的本质,它仍然是一个第三世界国家的"民族寓言"——个人遭际同构于家国命运的民族主义叙事。从经典抗战电影到《鬼子来了》,民族主义内涵从意识场景深入到潜意识场景,"民族寓言"在后现代语境里转世再生。
By parodying and deeonstructing the classical Sino-Japanese War films, Devil Coming has its own meaning. Toppling over the myth narrative of Sino-Japanese history, it makes this history paradoxical individual, folk, and multivocal. Post-modem strategy didn＇t change the inbeing of Devil Coming. It still is a national fable of the third world, i. e. it lets individual＇s life and national fate isomorphic. Under post-modem conditions, by translating nationalism from ideokgical levels to psychoanalytic levels,national fable was made metempsychosis in this film.
出处
《艺术百家》
北大核心
2008年第1期162-165,共4页
Hundred Schools In Arts
关键词
抗战电影
民族寓言
复调历史
后现代主义
film of Sino-Japanese War
national fable
paradoxical history
postmodemism
